Allowing very short notes to be ornamented creates ornamentation at rapid, almost unplayable speeds. This may bring associations to other musical traditions of the world. In order to avoid simplifications, I will not name a particular one.
Replacing long notes with typical ornaments was based on what the Ensemble Currentes was doing. I did also try a fractal approach. Patterns in nature expand from simple patterns to infinite detail. In computer graphics, a mountain can be drawn by endlessly subdividing lines within a triangle. 3
A melodic pattern is analyzed, and we assume that a turning point is by a change between ascending and descending movement. A series of intervals between two turning points is a segment considered a potential ornament. At the middle between two turning points of the melody, a random ornamentation can be inserted. You can choose whether it should be original, retrograde, inversion or retrograde inversion, and whether intervals should be microtonally scaled by floating numbers. This process generates a form of self similarity, as a melody is ornamented with fragments of itself. This continues recursively, the same process is repeated on the result. It does not take many iterations to expand some hundred notes to thousands or millions of notes.
This fractal self-similarity was implemented in the OM-Ruben library through a function called 'r-chord-to-granular-pitch-inflection'. In a demo patch I show an example of using this for granular synthesis with Csound. It was possible to create a dense cloud of notes deduced from randomized melodies or series of figurations from Codex Faenza.
This is the beginning of the diminution line for "Soto l'imperio" from Codex Faenza.